Among Birdie’s treasures to enliven the home are lighting, linens, and artful accessories. / Photo by Jane Beiles

On Nantucket, interior designer Nina Liddle is spreading her wings with Birdie, a new boutique that brings her playful, design-savvy mix of home décor and fashion to the island.

Named after her childhood nickname, Birdie reflects Liddle’s penchant for curating the unexpected. The light-filled Washington Street shop brims with distinctive finds from Europe and Africa—pieces that surprise as much as they delight. “I wanted it to feel very curated,” Liddle says. “Things people aren’t seeing everywhere else.”

Liddle has long dreamed of opening a store, even before launching her successful design firm, Nina Liddle Design. But with her interiors business flourishing, retail was put on hold—until now.

Inside Birdie, her vision comes to life. Decorative Jean Roger ceramic frogs sourced in Paris sit alongside whimsical South African pottery by Cape Town artist Gemma Orkin. Handmade Fermoie lampshades, their patterned textiles glowing in the windows, signal Liddle’s signature style: chic yet lighthearted.

Fashion, too, finds its place here. Racks are filled with breezy womenswear from designers such as Paris’s Thierry Colson, New York’s Merlette, and India’s Hemant & Nandita. Accessories—from South African jewelry to handknit Mexican handbags—add an international flair.

Perhaps the most personal touch is a custom pillow program, which allows customers to select from an array of fabrics to create bespoke designs. It’s an idea straight from Liddle’s interiors practice, where textiles often transform a room.

For Liddle, Birdie is the fulfillment of a long-held vision: a boutique that blends her interior design sensibility with her instinct for discovery. More than just another shop, it’s a reflection of her eye, her travels, and her playful approach to living well.

Photo by Jane Beiles

Jean Roger ceramic frogs sourced in Paris at Birdie. / Photo by Jane Beiles

Photo by Jane Beiles

Vani Sayeed sits on her living room sofa, upholstered in fabric by Kravet. The antique Kashmiri coffee table with teak inlay is a family heirloom; the modern floor lamp is by Visual Comfort. The art on the wall is her own creation. / Photo by Jared Kuzia

This article is from the spring 2026 issue of Boston Home. Sign up here to receive a subscription.

The entry foyer to Vani Sayeed’s Newton home is an example of her highly individualistic style. There’s a pair of handcarved Mexican chairs covered in a graphic Manuel Canovas fabric, a marble tabletop inlaid with lapis from India, a grand gold-leafed Spanish mirror, and a bow-front antique American dresser holding a marble-composite Venus de Milo that is most likely from Italy. All are grounded by a Turkish rug.

“Those Mexican chairs have been refinished three times,” says interior designer Sayeed. “Ten years ago, I bought the table on a whim; then it sat in storage for eight years. The mirror was a vintage find. The pieces are from all over the world, symbolic of a global sensibility.”

Sayeed embodies that global sensibility. Born in India, where she trained as an artist, she came to the United States as a young adult. After graduating from the University of Iowa, she launched her interior design career in San Francisco. Eighteen years ago, she, her husband, and two children moved to their Newton home, where she grew her business and brought personality to the 1,668-square-foot, three-bedroom, three-and-a-half-bath Dutch Colonial house built in the 1920s.

The entry foyer is furnished with a happy mix of pieces collected over time and all over the world, including an antique American chest, a lapis-inlaid tabletop from India, a Spanish mirror, and a carved Mexican chair. / Photo by Jared Kuzia

For the accent wall behind the bed in the primary bedroom, Sayeed chose a favorite landscape-inspired paper by Matthew Williamson for Osborne & Little. The pattern also covers throw pillows and lampshades. / Photo by Jared Kuzia

“When we purchased the house, it lacked character and style,” she says. “But it had good bones. There was no immediate rush to redo it; we had two small children, and we had to live in it to learn what the house needed.”

Living here soon taught her that the primary bedroom needed an en suite bath. Sayeed converted two closets into a bathroom, carving out a niche for a custom cherry vanity. Over time, she installed air conditioning, renovated the other bathrooms, and made upgrades to the kitchen with a new breakfast nook, counters, and backsplash.

“But we did not change the classic layout,” Sayeed says. “I like having separate rooms, with a dining room for formal entertaining and a living room where guests can gather.”

Above the living room fireplace, Sayeed displays a family heirloom, an Indian miniature painting. An antique fauteuil chair is upholstered with fabrics by Rubelli and Kravet. The paper on the fireplace wall is by Phillip Jeffries. / Photo by Jared Kuzia

The breakfast nook is colorful and personal, with a built-in settee designed by Sayeed, plates that were her mother’s, and art created by her daughters when they were in kindergarten. / Photo by Jared Kuzia

Today, each of the rooms is a colorful, eclectic mélange featuring graphic wallpapers in saturated colors; family heirlooms; paintings by Sayeed, her children, and her artist friends; and classic pieces of furniture. The dining room, for example, combines a simple table and chairs with grasscloth wallcovering, a carpet in a saturated shade of red, and a ceiling papered in gold.

“The light reflecting off that ceiling paper makes people look good; everyone just glows,” Sayeed says. “That’s a great thing at dinner parties.”

She notes that her design process is reflective of her experiences and stories and, as such, never ends. She calls it “slow decorating.”

Her travels have taught her to appreciate a range of styles. “It’s a testament to my love of family, travel, my immigrant story, and my passion for collecting and design.”

“I love New England’s old houses, but I also really enjoy modern architecture: there’s a lot of beauty in all of it. The one thing I do not want is to be a conformist. When I create an environment for people, I see the world through their eyes,” she adds. “Each person’s home should be as individual as their personality. You should never be afraid to express yourself. After all, where else can you experiment if not in your own home?”

In a daughter’s bedroom, a Cowtan & Tout fabric pays tribute to the history of women and girls who walked for miles carrying water in Rajasthan. / Photo by Jared Kuzia

Photo by Joyelle West

This article is from the spring 2026 issue of Boston Home. Sign up here to receive a subscription.

The second time was the charm for designer Gabrielle Bove when it came to working on this Wellesley residence. Having previously designed some of the home’s other spaces, Bove returned to elevate the more formal front-of-house rooms. The clients envisioned entertaining spaces that felt sophisticated yet playful and flexible enough for everyday living with their three children, family gatherings, and work meetings. Bove addressed their needs by blending the husband’s modern sensibility with the wife’s more traditional leanings, creating a seamless design rooted in color and comfort.

A key priority was establishing an instant sense of welcome. “When you first walk in, there’s this really beautiful view out to the pond in the back of the house and to the yard, and we wanted to frame that,” Bove reveals, so she created a new seating area anchored by custom green couches, which serve as a cozy spot for the kids to read and a comfortable retreat for their large extended family during holidays. Across from this, an adjacent living area provides a quieter, more refined setting. In the dining room, custom millwork and thoughtful storage solutions ensure daily life is maintained as effectively as entertaining.

“In my projects, I like to incorporate really interesting lighting pieces,” Bove says. “I purposely treat them as part of the artwork of the home, so they are always something unique to look at.” In the living room, the sunburst fixture overhead serves as a prime example. “There’s something elegant about it,” she adds, “but it also has this playful take that’s an unexpected element.” / Photo by Joyelle West

“We brought in these really interesting dining room fixtures that play off a traditional lantern. You have this square structure, but then you have a globe that’s set in,” Bove adds. “It’s something unexpected, which is kind of what the whole project is about. You have some of these more traditional design elements, but they’re done in an unexpected way so that we can bring in this modern take that the husband really likes.” / Photo by Joyelle West

Because the foyer, living room, and dining room flow together without structural breaks, Bove established a neutral backdrop and added warmth through curated color, pattern, and textiles. Taking inspiration from Rebecca Atwood drapery fabric, greens, peaches, and burnt umber form the palette, complemented by pops of blue. “It’s kind of like opposites of the color wheel,” she notes. Materials such as grasscloth, leather, and mohair enhance the home’s textural richness, while custom pieces—including a Doorman Designs dining room table, a Materia Millwork cabinet, and rugs from Elizabeth Eakins and Fells Andes—provide subtle variations that keep the rooms connected without feeling uniform. Whimsical design elements, like the velvet mohair Nickey Kehoe chair, add an unexpected layer of appeal.

Lighting, Bove says, functions as “jewelry,” with sculptural pendants and marble-detailed sconces lending a boutique-hotel refinement without competing against other design features. Together, the rooms form a connected, lived-in elegance—spaces that welcome, work hard, and quietly shine.

Builder S.L. Mario Construction
Interior Designer Opaline Interiors Studio
Photo Stylist Sean William

First published in the print edition of Boston Home’s Spring 2026 issue, with the headline “A Seamless Welcome.”

LISTING AGENTS: THE RIDICK REVIS GROUP, COMPASS (LINCOLN); PAMELA BATES, COLDWELL BANKER REALTY (HINGHAM)

MADORE PHOTOGRAPHY (LINCOLN); BRIAN DOHERTY PHOTOGRAPHY (HINGHAM)

In Greater Boston, the luxury real estate market hinges on lifestyle as much as architecture. This month’s contenders offer two interpretations of estate living: one rooted in wooded tranquility northwest of the city, the other anchored in historical charm on the South Shore.

In Lincoln, this stately brick Colonial is nestled on more than 5 acres of lush land with views of conservation fields. Thoughtfully expanded and updated, the house blends classic architecture with modern comforts. A 3,000-square-foot barn adds flexibility and reinforces the property’s quintessential country appeal.

South of the city, this 1774 landmark is located in the heart of Hingham Square. Meticulously maintained by successive owners, the home’s period details—from wide-plank floors to decorative moldings—enrich gracious living spaces. Outside, a pool and a separate carriage house—reimagined as an entertainer’s haven—are set on a rare half-acre parcel just a stroll from the town center.

While both homes ultimately traded for the same price, their appeal speaks to different priorities: Lincoln offers wooded seclusion and proximity to Boston’s western suburbs, while Hingham delivers history, coastal access, and in-town living. Which would you choose?

This article was first published in the print edition of the April 2026 issue, with the headline,“A Secluded Lincoln Colonial vs. a South Shore Landmark.”

A spiral staircase to Liz Caan’s private office winds around walls sheathed with pink Gucci wallpaper emblazoned with herons. / Photo by William Geddes

This article is from the spring 2026 issue of Boston Home. Sign up here to receive a subscription.

Visitors know they’ve stepped into Liz Caan’s world the moment they cross the threshold. A sweeping spiral stair rises beside walls wrapped in Gucci’s exuberant pink heron wallpaper—a true “wow” moment that signals exactly what this newly reimagined Newton Centre studio is about: bold pattern, refined craft, and an unabashed sense of joy.

Caan has occupied the building on Centre Street since 2009, gradually expanding into adjoining suites and an upper-level room that once required exiting the building to access. Over time, Caan felt a growing dissatisfaction with the warren of offices—patched together, outfitted with drop ceilings, and burdened by inefficient storage—because they weren’t reflective of the elevated living spaces her firm designs. “We do these really beautiful projects, and our office should represent that,” she says. So last year, she committed to a top-to-bottom renovation that would unify the spaces physically and aesthetically.

The result, completed in September, is a studio that feels more like a home—warm, layered, and deeply considered. The largest reconfigured area is the conference room, where clients gather around a vintage French table surrounded by soaring built-in bookcases. Here, Caan encourages a new kind of collaboration: pulling monographs, unfolding textiles, and allowing clients to linger and learn. “Our meetings are different now,” she says. “Clients get to play a bit. They start developing their eye toward better-quality design.”

There’s a design book library in the conference room where a Thomas Strahan wallcovering wraps the walls. The light fixture is the “Verso” chandelier by Blueprint Lighting. / Photo by William Geddes

In the shared workspace, the gold floral wallpaper is by Soane, the sconces are from Urban Electric, and the desk chairs are from Design Within Reach. / Photo by William Geddes

Throughout, Caan mixes pieces that speak to design lovers fluent in form and history. Her studio manager works at a sculptural 1970s pine desk sourced from a Los Angeles dealer; a travertine midcentury lamp glows beside it. French urns anchor the front window. Staff work at custom-built-in desks set against a Soane wallcovering designed to soften the rhythm of the workday. Even the new kitchenette, made from modular deVOL oak cabinets painted on-site, blends craftsmanship with practicality—a reflection of the studio’s family-like culture of six.

One of the renovation’s most charming architectural details is a blind-cut door disguised within the leafy wallpaper of the conference room. Fitted with a brass porthole, it leads quietly to the kitchenette, allowing staff to slip in and out during meetings. “Clients love it—they didn’t know you could do that,” Caan says.

For Caan, the transformation has reshaped daily life. “I always joke this is the new work-from-home,” she says. “It feels warm and cozy. I don’t want to beeline out at the end of the day.” Instead, the studio invites exactly what she hoped for: lingering, connection, and the simple pleasure of being surrounded by good design.

The porthole window in the conference room door allows staff members to peek into the room before interrupting a meeting. / Photo by William Geddes

Builder Opus Master Builders
Interior Designer Liz Caan Interiors
Millwork Studio Furniture Design Studios
Photo Stylist Philippa Brathwaite

Photo by Greg Premru

​​​​This article is from the spring 2026 issue of Boston Home. Sign up here to receive a subscription.

This Cape Cod–style home in Dover underwent a full renovation to lean into the surrounding woods and pond that attracted the homeowner here to raise her family 20 years ago. Now embracing nature, efficiency, and a contemporary mood, it’s full of natural elements that create a marriage between inside and out.

Reconfiguring the cramped first floor and borrowing from the dining room to expand the kitchen, New England Design and Construction senior designer Joe Wood created fluidity and breathing space. Meanwhile, interior designer Dane Austin imbued a warm color palette as well as whisps of wildlife to enliven wall coverings, furnishings, and lighting. Now the wide-open kitchen and adjacent living room, as well as the sun-drenched sunroom and dining nook, borrow from the backyard in a relationship of grounding energy.

The grasscloth wallcovering in the office has a subtle green undertone that “you don’t necessarily see at first until you’re looking closer, but it’s such a beautiful effect,” Austin says. The drapery fabric depicts waterfowl, lily pads, and grasses that frame her views out to the pond. / Photo by Greg Premru

Custom Essex Bay Cabinetry and Design cabinets are painted in contrasting Benjamin Moore’s “Philipsburg Blue” and Sherwin-Williams’s “Aesthetic White” to create a softer, artistic ambiance. La Dolce Vita quartzite stone on the backsplash, counters, and atop a 9-foot walnut island creates a kitchen where everyone wants to be. / Photo by Greg Premru

In the sunroom, tree-branch sconces and a palm-frond chandelier are frisky nods to nature, while a series of side tables of varying heights and materials creates layers of natural texture. / Photo by Greg Premru

“Giving [the homeowner] that connected living space through the procession of three rooms on the back of the house, where she spends most of her time, was crucial,” Wood says. “And we retained some of the Cape Cod exterior while giving her an expansive two-story space on the inside.”

This is most evident in the vaulted living room, which now floods with light and airiness from a 7-foot picture window, an overhead dormer, and a second-floor balcony. An asymmetrical art nouveau–style handwoven wool rug from India became the launching pad for the color palette and materials throughout, Austin says, including shades of muted blues and greens that intertwine naturally from room to room. They even painted the doors throughout the house in Benjamin Moore’s “Jamestown Blue,” he adds, which is visually softer and more palatable than the more common stark white.

The vaulted two-story living room is a study in layers: The fireplace is set in Venetian plaster with an overlay of lily pads on water by Patina Designs; the shelving is in deep walnut; and the burl-wood coffee table undulates like the pond in the yard. / Photo by Greg Premru

The dormer window in the vaulted living room ceiling is clad in maple shiplap. It brightens up the new second-floor balcony, where the Venetian-plastered fireplace continues skyward. / Photo by Greg Premru

The species of trees growing in the backyard also inspired the use of natural woods. From the built-ins and shelving to the cabinets and floors, fir and walnut are standouts that offer easy movement of the eye from inside to out, Wood says. The kitchen island, for example, is set in weighty walnut, opposite contrasting-color cabinets, quartzite counters, and double ovens that offer a gravitational pull toward the homeowner’s love of baking and entertaining.

“The white upper cabinetry recedes into the background and feels more cohesive throughout,” Austin explains. “All of these warm tones, with the wood, floors, ceiling, and natural textiles, counterbalance cool tones throughout.”

A custom table grounds the new dining room, where grasscloth walls and walnut shelving provide seamless continuity from the kitchen and living room. / Photo by Greg Premru

From larger spaces to smaller moments for rest and reflection, the home has inviting little spots, too. A mini reading nook is tucked next to the customized dining room, while the charming sunroom, which was meant to be a walk-through space from the garage, boasts floor-to-ceiling windows and a cozy chenille sofa that has become a destination in its own right.

“Good design is about contrast and juxtaposition and showing the dichotomy between finishes. And I really believe in custom upholstery because you can focus on the comfort,” Austin says. “It’s about layering and creating that sense of sophistication that feels collected over time. It’s a sharp look when you can mix materials in a way that looks effortless.”

Architect and Builder New England Design and Construction
Interior Designer Dane Austin Design
Photo Stylist Caitlin McLaughlin

Photo by Sean Litchfield

This article is from the spring 2026 issue of Boston Home. Sign up here to receive a subscription.

It was love at first sight. Never mind that the circa-1920 summer cottage on Marblehead Neck lacked proper insulation; it absolutely oozed charm. Sarah Crawford knew it was her family’s forever home. Although she and her husband, who have twin teenage daughters and two French bulldogs, invested in some improvements early on, it was nine years before they undertook a full renovation. “We wanted to increase the functionality while preserving the original integrity,” she says. “It needed to make sense for all phases of life and reflect the seaside setting.”

Crawford, whose efforts in reimagining the interiors helped land her a job with designer Courtney B. Smith, describes the aesthetic as coastal whimsy with feminine flair. This is no squared-away, white-and-navy nautical scheme. Rather, Crawford revels in color and curves. “When you walk in, you know a bunch of girls live here,” she laughs.

Photo by Sean Litchfield

Getting Quirky with Color

“I leaned into colors found in the sea but not typically identified as coastal,” Crawford explains. She points to a marbleized wallcovering by Beata Heuman as her jumping-off point for the ocean blues, sea greens, and shell pinks. “There are so many colors in it that for me, it’s a neutral,” she says. The paper lines the arched niche of the dining room built-ins, painted a soft seafoam green. The pattern reappears in velvet on cushions in the living room, where Crawford drenched the original woodwork and coffered ceiling in an easygoing blue-green and covered the walls in teal grasscloth. Pink makes appearances all around, from the rosy coral sectional to the couple’s powder-puff-pink upholstered bed.

Photo by Sean Litchfield

Celebrating the Sea

In case the unconventional color palette leaves any doubt of Crawford’s thematic intentions, the seaside motifs seal the deal. Vintage furniture with Palm Beach panache—a coffee table with giant plaster clamshells and clamshell-backed dining chairs scored on Etsy and eBay—anchors the living and dining rooms, respectively. Wave details, scalloped silhouettes, and seaweed stripes are interwoven throughout, be it in the lighting over the kitchen sink, the rattan bench in the bedroom, or the dining room drapery. Textiles with shells and sea creatures abound, and there’s mermaid wallpaper in the girls’ bathroom doubling as a cheeky nod to their twindom.

Photo by Sean Litchfield

Divide and Gather

To enhance the home’s curb appeal and provide a buffer between the entry and living room, architect Anthony Roossien designed a modest bump-out. The added square footage allowed for a vestibule with window seats on either side. One is a tiny mudroom. Crawford outfitted the other with a game table and a Slim Aarons photo of a poolside Scrabble game. (Crawford is a self-proclaimed Scrabble champ.) A new half wall cordons off the main seating area, which centers on the original fireplace with built-in benches. “The inglenook is the heart of the home,” Crawford shares. “The space feels very open, but there are these wonderful destinations within it.”

Photo by Sean Litchfield

Transcending Trends

Crawford approached the kitchen a bit differently than the rest of the rooms. “I will likely never have the opportunity to design my dream kitchen again, so it had to be truly timeless,” she says. That said, boring isn’t in Crawford’s design vocabulary. She paired Danby marble with sooty-black cabinetry for a classic yet dramatic effect. Unlacquered brass hardware and brass Nickey Kehoe scallop sconces are the jewelry. “There are sight lines to the living and dining rooms, as well as to the pantry with John Derian shell wallpaper,” Crawford says. “That’s how I get my color.”

Photo by Sean Litchfield

Architect Roossien Architects
Builder M. Beane Construction
Kitchen Designer Shelter Interior Design
Photo Stylist Kerryn Connelly

First published in the print edition of Boston Home’s Spring 2026 issue, with the headline “Reimagined with Whimsy.”

Photo by Somerby Jones

This article is from the spring 2026 issue of Boston Home. Sign up here to receive a subscription.

With one branch of their business in Boston, a California-based couple found themselves traveling frequently to the city. Growing tired of staying in hotels and wanting a more personal experience, they decided to purchase a condo at Raffles Boston. “Because they were coming here so often, they wanted something that was their own—comfortable, but also playful in a sophisticated way,” says interior designer Stephanie King. With larger, more neutral residences on the West Coast, the clients were eager to explore a different expression for their new home away from home. “They thought, ‘It’s not huge, so let’s do something fun that shows another side of our style,’” King adds.

Working from that mindset, King and her clients leaned into the interplay of color, material, texture, and shape. The open floor plan and sweeping Back Bay views offered a clean slate. “They loved the idea of keeping the walls and architecture very light and bright, so you could look past the furniture and still see the cityscape,” King explains. “But they also wanted splashes of color in the furnishings, accessories, and art.” After reviewing a range of fabrics, paints, and wallcoverings, the team homed in on rich greens, turquoises, and jewel tones, bold yet balanced choices that kept comfort front and center.

In the living room, the design is grounded by a custom Atelier rug, while a mustard Vladimir Kagan chair, a bouclé sofa upholstered in a custom woven fabric from Chapas Textiles, a magenta stool, and a turquoise lacquered coffee table establish a dynamic setting. “Everything packs a bit of punch instead of being just little moments of color,” King says. Custom walnut built-ins by Amuneal, complete with an antique mirror, integrated bar, and concealed storage, add multi-use functionality. In the adjacent dining area, an art piece from one of the couple’s California homes proved a natural fit, inspiring a trio of velvet dining chairs in pink, purple, and coral that deliver refined whimsy. Overhead, sculptural lighting by Lindsey Adelman and a mobile-inspired fixture from Holly Hunt provide playful movement between the two spaces.

With a color palette that features dark maroons, deep purples, and graphite grasscloth wallpaper, the office/guest bedroom is a luxurious spot for both work and winding down. / Photo by Somerby Jones

In the dining room, three chairs in different velvets— featuring tones of pink, purple, and coral—deliver a playful yet elegant look. / Photo by Somerby Jones

In the client’s office, which doubles as a guest room, King shifted the mood. “We designed a custom walnut-and-brass Murphy bed with storage on either side,” she notes. Charcoal grasscloth wraps the walls, continuing a color-blocking approach. “We stayed within a very specific palette of charcoal, turquoise, and burgundy-esque accents; you’ll see it in the rug, the purple side table, and the lacquered desk.” The primary bedroom offers a more serene expression of color while remaining connected to the rest of the residence. “They wanted it to feel soft and elegant,” King says. Because it’s a confined space, a custom bed designed by Masterpiece extends across the wall, incorporating brass nightstands. “We wanted everything to have a big presence.” Subtle injections of purple and pink also allowed the team to mix atypical combinations, while custom-blown pendants from Jeremy Maxwell Wintrebert add a warm glow.

Throughout the home, King’s approach creates distinct moods that feel cohesive rather than compartmentalized. “Every space gives a hint of what comes next,” she concludes. “Each room has its own energy, but they connect together as a whole.”

The serene and soft primary bedroom is ideal for relaxation and revitalization. Muted greens and rose, along with a warm touch of brass, serve as a tranquil space for the homeowners. / Photo by Somerby Jones

Clean lines, understated fixtures, and stylish stools give the kitchen an inviting aesthetic. / Photo by Somerby Jones

In the bathroom, pops of color are embraced, and their use balances the boldness, moodiness, and softness, which flow effortlessly from space to space throughout the home. / Photo by Somerby Jones

Builder The Lagasse Group
Interior Designer Stephanie King Design

Photo by Oliver Pilcher

​​​​This article is from the spring 2026 issue of Boston Home. Sign up here to receive a subscription.

Tucked along a tree-lined stretch of Madison Avenue, the Mark Hotel stands as one of New York’s most distinctive addresses—a place where Upper East Side tradition and contemporary glamour meet with effortless polish. When the original Mark opened in 1927, the neighborhood was transforming from a quiet residential enclave into one of the city’s most refined corridors. The hotel quickly became a preferred retreat for well-heeled travelers seeking both discretion and proximity to Central Park and Museum Mile.

Nearly a century later, that legacy is newly celebrated in The Mark, a new Assouline volume by New York Times bestselling author Derek Blasberg. The book traces the hotel’s evolution—from its early days as an understated residence hotel to its present role as a cultural touchpoint woven into the fabric of uptown life.

Photo by Adrian Gaut

The Mark’s most defining reinvention came in 2009, when French designer Jacques Grange undertook a top-to-bottom transformation that honored the building’s prewar architecture while projecting it confidently into the 21st century. Grange’s eclectic blend of Parisian chic, bold geometry, and meticulous craftsmanship reshaped the hotel’s identity. The lobby’s now-iconic black-and-white striped marble floor nods subtly to the art deco era while introducing an unmistakably modern visual rhythm. Throughout public spaces and guest rooms, curated artworks and custom furnishings reflect contributions by creative luminaries including Karl Lagerfeld, Guy de Rougemont, Paul Mathieu, and Mattia Bonetti.

As The Mark homes in on its centennial, the recently released Assouline volume celebrates the hotel’s design and culture.

The guest rooms build on this dialogue between past and present. Lacquered details and tailored monochromatic palettes evoke European modernism, while plush textiles and oversized soaking tubs offer the comforts expected of a 21st-century luxury stay. Many suites frame sweeping Central Park views—reminders of the hotel’s longstanding relationship with the neighborhood surrounding it. The penthouse, meanwhile, channels the grand scale of early-20th-century apartments, reinterpreted with contemporary opulence.

Photo by Adrian Gaut

Over the years, The Mark has cultivated a cultural identity few hotels can claim. Its role as the unofficial headquarters for the Met Gala underscores its place in the city’s creative ecosystem, while curated guest experiences—from a private sailboat to the cheeky Bergdorf Goodman Express pedicab—broaden its sense of playful sophistication.

On the rooftop, private dining is available with a bird’s-eye view of the city. / Photo by Adrian Gaut

First published in the print edition of Boston Home’s Spring 2026 issue, with the headline “Uptown Original.” 

Mixed-media panels by Michael Hoffman from Jules Place pack a geometric punch atop the watercolor Eskayel wallpaper. Oak details and the woven pendant balance the eccentric color. “Organic elements tone down the saturation of space,” Fineman says. / Photo by Michael J. Lee

​​​​This article is from the spring 2026 issue of Boston Home. Sign up here to receive a subscription.

When out-of-town clients asked that the redesign of their Back Bay pied-à-terre include sleeping accommodations for all four of their grandchildren, Cara Fineman didn’t balk. “During demolition we discovered we could raise the ceiling,” she explains. And thus, the decision to design a triple bunk was born.

Not only did the team—Fineman collaborated with architect Erin Hunter—provide beds for everyone (the full-size bottom mattress sleeps two), they snuck in a play area atop the closet. “With a 3-foot-5-inch ceiling height, it’s very much for children!” Hunter says.

There’s significant storage, too. Arched built-ins flank the bunks, bookshelves at the window seat create a reading alcove, and oak-lined niches with O&G Studio sconces give each kid a spot for a tablet, water bottle, and tiny treasure. A glossy violet Dunes and Duchess console table lets the owner work on her laptop amid the grandchildren.

The abundant built-ins ensure that the room functions effortlessly yet never overtake the space. Color-drenched in Farrow & Ball’s “Arsenic,” an energetic aquamarine, the millwork seems to melt into the walls. Add in the Eskayel watercolor wallcovering—Fineman’s starting point for the scheme—and a custom silk rug that lends an ethereal sheen underfoot, and this 151-square-foot bedroom for four feels downright dreamy.

Playful accents, from the woven pendant light with flirtatious fringe and Moorish flavor to the arched transom featuring teal circles of stained glass, enhance the fairy-tale appeal. “We used teal in small doses throughout the home because it’s the client’s favorite color,” Fineman says. Here, indulging in color evokes the balance of luxury and whimsy she was looking for.

Hunter notes that the clients and their grandchildren, who are quite adventurous, love the thrill of the multilevel space. She, too, is pleased. “A tall ceiling in a small footprint can make a space feel unsettling,” the architect says. “By embracing the triple bunks and lofted hide-out, we used the room’s proportions in a way that feels meant to be.”

Photo by Michael J. Lee

Architect Studio Hearth
Builder C2MG Builders
Designer DAG Design
Photo Stylist Sean William

First published in the print edition of Boston Home’s Spring 2026 issue, with the headline “The Perfect Stack.”